Lessons · Showcase

Bourree

A dance on the upbeat

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

132

133

134

135

136

137

138

139

140

141

142

143

144

145

146

147

148

149

150

151

152

153

154

155

156

157

158

159

160

161

162

163

164

165

166

167

168

169

170

171

172

173

174

175

176

177

178

179

% A BOURREE begins on the last quarter of the bar. Bach's tune
% enters on '1 (one quarter of anacrusis) and leans down a fourth
% onto 5, which is the first downbeat. The first thing you hear is
% not the beginning of a bar.
 
bpm 184
instrument hollow
meter 4
unit 1/4
key a4 min
mode diatonic
 
Upbeat ::= '1 _4
 
Upbeat 5 _4
 
 
% The bar it leans into never leaves the neighbors of 5: on,
% under, on, over, on, under: 5 4 5 6 5 4. Two quarters, on 5 and
% on 6; the rest are eighths.
 
Turn ::= 5 _4 4 _2 5 _2 6 _4 5 _2 4 _2
 
Upbeat Turn
 
 
% Bar two answers in four plain quarters, and its last quarter IS
% Upbeat: 5 drops a fifth to 1, repeats it, then leaps the octave
% back to '1. Every bar hands the next one its upbeat, so the lean is
% built into the material rather than added to it.
 
Reply ::= 5 _4 1 _4 1 _4 Upbeat
 
Upbeat Turn Reply Turn
 
 
% The left hand states the bar line plainly: even eighths, .1
% under every off-eighth, and above it .3 .3 .4 .4 on the four
% beats. It enters early too: two eighths, .1 .2, climbing into
% the downbeat.
 
Ped ::= {.3 _2 .1 _2}*2 {.4 _2 .1 _2}*2
 
{Upbeat Turn, .1 _2 .2 _2 Ped}
 
 
% Where a phrase BEGINS is a compositional choice, and the choice
% is audible. Phrase over Bass is what Bach wrote; Phrase[1:] drops
% the upbeat and a quarter rest makes up the length, so the whole
% tune falls a quarter early against an unchanged bass: 6 now sounds
% over .3 instead of .4, and Reply, which should enter on a bar line,
% enters a beat before it.
 
Ped2   ::= .3 _2 .1 _2 .4 _2 .1 _2 .3 _2 .1 _2 .2 _2 .1 _2
Bass   ::= .1 _2 .2 _2 Ped Ped2
Phrase ::= Upbeat Turn Reply
 
{Phrase, Bass}
{Phrase[1:] - _4, Bass}
 
 
% The four-bar period, both hands. Bar three repeats bar one in
% both of them; bar four answers Turn with the same rhythm pointing
% the other way (instead of reaching up to 6 the line sinks to 3)
% and the bass follows it down, .2 .2 where it had .4 .4.
 
Fall ::= 5 _4 4 _2 3 _2 4 _4 3 _2 4 _2
Ped3 ::= {.3 _2 .1 _2}*2 {.2 _2 .1 _2}*2
 
{Phrase Turn Fall, Bass Ped Ped3}
 
 
% THE WHOLE BOURREE: both strains, from the verified grammar.
 
bpm 184
meter 4
unit 1/4
key a4 min
mode diatonic
 
% The cast, every motif and chord the lead line uses:
 
Run ::= 4 _2 5 _2 6 _4
M37 ::= 5 _4 Run
M16 ::= 5 _2 4 _2
M18 ::= 5 _4 4 _2
M6 ::= 2 _2 Run~@-5 2 _4
M19 ::= 3 _2 4 _4
S2 ::= M6@5 4 _2 5 _2? 3 6 _4? 4 5 _2? 3 4 _2 M18 M19 3 _2
M23 ::= 3 _2 4 _2
M13 ::= M16 3 _2
M17 ::= .2 _2 .1 _2
M9 ::= M17 .2 _2
M15 ::= .3 _2 .1 _2
M20 ::= 3 _2 M15~@14
M4 ::= bb4 _2 a4 _2 g4 _2 d5 _2 bb4 _2 a4 _2
S3 ::= M13 M16 M9@~8 4 _2 M9@~8 1 _2 M20 M4@2 1 _2
M8 ::= 5 _2 M13@~-2 M13@~-1
M11 ::= M13@~-4 M15@~7 .7 _2
M12 ::= 2 _2 M23
M32 ::= 7 _2 '5 _2
M26 ::= '5 _2 7 _2 6# _2
S7 ::= M20 M9@~8 .7 _2? 1 M12
M41 ::= 6 _2 M11@7
M39 ::= 7 _2 2 _2
M22 ::= 1 _2 .7# _2
M29 ::= 7# _2 '1 _2
M21 ::= ..5 _2 .2 _2
M24 ::= 5 _2 6 _2? 7b
S5 ::= M12@~2 1 _2 5b _2 M24 1 _2 M24 7 _2 2 _2
M40 ::= .2 _2 M15
 
key e4 harm
key a4 min
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F1a1 ::= '1 _4 M37 M16 5 _4 1 _4*2
F1a2 ::= '1 _4 M18 S2 2 _2 M37@~-2 M23 S3 M8
F1a1 F1a2
 
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F11a ::= | 1 _2 4 _2 M11@2 |
  | .7 _2 M8@~-1 |
F11a
 
 
% Part 2, from m.1
 
key e4 harm
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F13a ::= | 3 _2 6 _2 M11@~3 |
  | 2 _2 M8@~1 |
  | 2 _2 5 _2 3 _4 Run@~-2 |
  | M9@~8 M9@~7 3 _2 4 _2 |
F13a
 
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F17a1 ::= 5 _2 M12 M12 3 _2 M15~@14 M15@~7 M15~@~9*2 '1 _2 5 _2 M15~@24*2 '4 _2 '3 _2 M9@~14 '1 _2 M32 '2 _2 '1 _2
F17a2 ::= M32 M4@9 '1 _2 M26 5 _2 M26 M15~@~11 '1 _4 '2 _4 5 _4
F17a1 F17a2
 
key a4 min
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F24a ::= | 5b _4 5 _12 |
  | '1 _4 5 _12 |
F24a
 
 
% Part 3, from m.1
 
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F26a1 ::= | 2 _4*2 Run@~-3 |
  | Run@~-2 M13@~-2 .7# _2 |
  | 6 _4 M18 M19 |
F26a2 ::= S7 5 _2 6 _2 M12@~2 7 _2
  | M12@~3 M13@~3 M16 |
F26a3 ::= 4b _2 '2b _2 S3@~3 3 _2 M4
F26a1 F26a2 F26a3
 
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F36a1 ::= .7 _2 M41 3 _2 M41@-7
F36a2 ::= .6 _2 1 _2 2b _2 M23 M9@~11 M39 4b _2 4 _2 5 _2 M9@~12 M39@2 4 _6 5 _2 5 _6 4 _2 4 _12
F36a3 ::= | Run Run |
F36a1 F36a2 F36a3
 
 
% Part 4, from m.1
 
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F43a1 ::= 5 _2 S2#8@~-1 M19
  | 3 _2 M6 |
F43a2 ::= | 1 _2 M6 |
  | M22 1 _4 M13@~1 3 _2 |
F43a1 F43a2
 
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F49a1 ::= 2 _2 M22 1 _2 2 _2 .7# _2 .5 _4 2 _4 M12@~1 1 _2 M29@~-4
F49a2 ::= M21~@17 S5 5 _2 7b _2 7# _2 2 _2 S5#4@~2 M29
F49a3 ::= M21~@24 M12@~6 M29 M40@17 5 _6 6 _2 2 _6 1 _2 1 _12
F49a1 F49a2 F49a3

% A BOURREE begins on the last quarter of the bar. Bach's tune
% enters on '1 (one quarter of anacrusis) and leans down a fourth
% onto 5, which is the first downbeat. The first thing you hear is
% not the beginning of a bar.

bpm 184
instrument hollow
meter 4
unit 1/4
key a4 min
mode diatonic

Upbeat ::= '1 _4

Upbeat 5 _4

% The bar it leans into never leaves the neighbors of 5: on,
% under, on, over, on, under: 5 4 5 6 5 4. Two quarters, on 5 and
% on 6; the rest are eighths.

Turn ::= 5 _4 4 _2 5 _2 6 _4 5 _2 4 _2

Upbeat Turn

% Bar two answers in four plain quarters, and its last quarter IS
% Upbeat: 5 drops a fifth to 1, repeats it, then leaps the octave
% back to '1. Every bar hands the next one its upbeat, so the lean is
% built into the material rather than added to it.

Reply ::= 5 _4 1 _4 1 _4 Upbeat

Upbeat Turn Reply Turn

% The left hand states the bar line plainly: even eighths, .1
% under every off-eighth, and above it .3 .3 .4 .4 on the four
% beats. It enters early too: two eighths, .1 .2, climbing into
% the downbeat.

Ped ::= {.3 _2 .1 _2}*2 {.4 _2 .1 _2}*2

{Upbeat Turn, .1 _2 .2 _2 Ped}

% Where a phrase BEGINS is a compositional choice, and the choice
% is audible. Phrase over Bass is what Bach wrote; Phrase[1:] drops
% the upbeat and a quarter rest makes up the length, so the whole
% tune falls a quarter early against an unchanged bass: 6 now sounds
% over .3 instead of .4, and Reply, which should enter on a bar line,
% enters a beat before it.

Ped2   ::= .3 _2 .1 _2 .4 _2 .1 _2 .3 _2 .1 _2 .2 _2 .1 _2
Bass   ::= .1 _2 .2 _2 Ped Ped2
Phrase ::= Upbeat Turn Reply

{Phrase, Bass}
{Phrase[1:] - _4, Bass}

% The four-bar period, both hands. Bar three repeats bar one in
% both of them; bar four answers Turn with the same rhythm pointing
% the other way (instead of reaching up to 6 the line sinks to 3)
% and the bass follows it down, .2 .2 where it had .4 .4.

Fall ::= 5 _4 4 _2 3 _2 4 _4 3 _2 4 _2
Ped3 ::= {.3 _2 .1 _2}*2 {.2 _2 .1 _2}*2

{Phrase Turn Fall, Bass Ped Ped3}

% THE WHOLE BOURREE: both strains, from the verified grammar.

bpm 184
meter 4
unit 1/4
key a4 min
mode diatonic

% The cast, every motif and chord the lead line uses:

Run ::= 4 _2 5 _2 6 _4
M37 ::= 5 _4 Run
M16 ::= 5 _2 4 _2
M18 ::= 5 _4 4 _2
M6 ::= 2 _2 Run~@-5 2 _4
M19 ::= 3 _2 4 _4
S2 ::= M6@5 4 _2 5 _2? 3 6 _4? 4 5 _2? 3 4 _2 M18 M19 3 _2
M23 ::= 3 _2 4 _2
M13 ::= M16 3 _2
M17 ::= .2 _2 .1 _2
M9 ::= M17 .2 _2
M15 ::= .3 _2 .1 _2
M20 ::= 3 _2 M15~@14
M4 ::= bb4 _2 a4 _2 g4 _2 d5 _2 bb4 _2 a4 _2
S3 ::= M13 M16 M9@~8 4 _2 M9@~8 1 _2 M20 M4@2 1 _2
M8 ::= 5 _2 M13@~-2 M13@~-1
M11 ::= M13@~-4 M15@~7 .7 _2
M12 ::= 2 _2 M23
M32 ::= 7 _2 '5 _2
M26 ::= '5 _2 7 _2 6# _2
S7 ::= M20 M9@~8 .7 _2? 1 M12
M41 ::= 6 _2 M11@7
M39 ::= 7 _2 2 _2
M22 ::= 1 _2 .7# _2
M29 ::= 7# _2 '1 _2
M21 ::= ..5 _2 .2 _2
M24 ::= 5 _2 6 _2? 7b
S5 ::= M12@~2 1 _2 5b _2 M24 1 _2 M24 7 _2 2 _2
M40 ::= .2 _2 M15

key e4 harm
key a4 min
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F1a1 ::= '1 _4 M37 M16 5 _4 1 _4*2
F1a2 ::= '1 _4 M18 S2 2 _2 M37@~-2 M23 S3 M8
F1a1 F1a2

% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F11a ::= | 1 _2 4 _2 M11@2 |
  | .7 _2 M8@~-1 |
F11a

% Part 2, from m.1

key e4 harm
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F13a ::= | 3 _2 6 _2 M11@~3 |
  | 2 _2 M8@~1 |
  | 2 _2 5 _2 3 _4 Run@~-2 |
  | M9@~8 M9@~7 3 _2 4 _2 |
F13a

% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F17a1 ::= 5 _2 M12 M12 3 _2 M15~@14 M15@~7 M15~@~9*2 '1 _2 5 _2 M15~@24*2 '4 _2 '3 _2 M9@~14 '1 _2 M32 '2 _2 '1 _2
F17a2 ::= M32 M4@9 '1 _2 M26 5 _2 M26 M15~@~11 '1 _4 '2 _4 5 _4
F17a1 F17a2

key a4 min
% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F24a ::= | 5b _4 5 _12 |
  | '1 _4 5 _12 |
F24a

% Part 3, from m.1

% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F26a1 ::= | 2 _4*2 Run@~-3 |
  | Run@~-2 M13@~-2 .7# _2 |
  | 6 _4 M18 M19 |
F26a2 ::= S7 5 _2 6 _2 M12@~2 7 _2
  | M12@~3 M13@~3 M16 |
F26a3 ::= 4b _2 '2b _2 S3@~3 3 _2 M4
F26a1 F26a2 F26a3

% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F36a1 ::= .7 _2 M41 3 _2 M41@-7
F36a2 ::= .6 _2 1 _2 2b _2 M23 M9@~11 M39 4b _2 4 _2 5 _2 M9@~12 M39@2 4 _6 5 _2 5 _6 4 _2 4 _12
F36a3 ::= | Run Run |
F36a1 F36a2 F36a3

% Part 4, from m.1

% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F43a1 ::= 5 _2 S2#8@~-1 M19
  | 3 _2 M6 |
F43a2 ::= | 1 _2 M6 |
  | M22 1 _4 M13@~1 3 _2 |
F43a1 F43a2

% mm.1-10: M15 at -1, stepped through the scale, in retrograde, augmented; M37 stepped through the scale; M12 stepped through the scale · 2 voices.
F49a1 ::= 2 _2 M22 1 _2 2 _2 .7# _2 .5 _4 2 _4 M12@~1 1 _2 M29@~-4
F49a2 ::= M21~@17 S5 5 _2 7b _2 7# _2 2 _2 S5#4@~2 M29
F49a3 ::= M21~@24 M12@~6 M29 M40@17 5 _6 6 _2 2 _6 1 _2 1 _12
F49a1 F49a2 F49a3

running…edit it and it re-runs as you type

Bourree · Showcase